Sambodhi 1996 Vol 20

Author(s): Jitendra B Shah, N M Kansara
Publisher: L D Indology Ahmedabad

Page 14

R. V. TRIPATHI
SAMBODHI
influence on the later theorists and dramatists. No wonder that Rājasekhara in his Balarāmāyana presents Kohala as the Sūtradhāra of the play within the play
- named as Sītāsvayamvara to be performed in the court of Rāvana, even though it was Bharata who had sponsored this play and had also provided its script, as the Sūtradhāra Kohala himself informs. In Kālidāsa, we find Bharata as the sole authority. Here Kohala has also found a place side by side with Bharata. This leads us to understand the process of interaction between classical theatre and folk theatre, and the Sanskrit playwright going for the new forins of drama, i.e., the uparūpakas, which are standardised and classified forms of folk-theatre.
Rājasekhara introduced a number of new features in Sanskrit drama, which were inspired perhaps from a parallel tradition of Nātyaśāstra or from folktheatre. He added druvās in his dramas. Employment of puppets, or use of motifs related to puppet theatre is another speciality of Rājasekhara. The central concept of Viddhaśālabhañijikā is based on the puppet motif. Śalabhanjikā is a puppet. In Bälarāmāyana, the puppet of Sītā is brought on the stage for entertaining Rāvana. Rājasekhara has introduced carcari in his Karpūramañjarī, giving a lively account of its performance. Carcari has been mentioned and defined amongst the minor forms of drama or the uparūpakas. The carcari as described by Rajasekhara combines a number of group dances - (i) sprinkling of coloured water with lāsya type of dance by blowing the pipes, (ii) the dandarāsa by thirty-two danseuses in various combinations, (iii) cemetary dance with demon-like masks; (iv) pulinda-dance with feathers of peacocks; and (v) challi or calli dance in accompaniment of hudukkā and mardala. Several experimentations or designs of various situations in Rajasekhara's dramatic pieces violate Bharata's norms. Vidūşaka in his Karpüramañjarī wears a mask (pratiśīrsaka), whereas only the minister, Kañcuki and purohita should wear masks according to Bharata. After Blāsa and Bhavabhūti, Rajasekhara also presents a dream-scene on the stage (Viddha. Act III). In Bälarāmāyana a scuffle between Rāvana and Paraśūrāma is presented. Rājasekhara even goes to the extent of showing his heroine taking her bath (Karpūra.), or presenting marriage rituals (Ibid) or svayamvara - scene (Bälarāmāyana and Pracandapāndava ) on the stage. The above examples of Bhäsa, Kālidāsa, Blavabhūti and Rājasekhara prove that Bliarata has been by and large the mentor and a torch-bearer for the Sanskrit